The Black Art Project, with a focus on the visual arts, is an evolving multi-faceted series of collective projects that together will present solid, verifiable documentation of the contributions of Black art and artists in the overall body of American art.

BAP Booklists

Friday, December 27, 2013

Select African American Art Exhibitions: Highlights for 2014

This highlight, the first for 2014,
features a few upcoming exhibitions that are opening during the next few months. Presenting the exhibitions as they
approach their opening dates or shortly after opening, assures a freshness and
currency of information for visual art enthusiasts. A number of
important traveling exhibitions that opened earlier in the year are
still being featured across the country and are accessible from the Blog page entitled: Select Art Exhibitions in 2014. This page is
updated on a weekly basis by either adding newly discovered exhibitions
or removing those that are approaching their expiration date. Its
intent is to provide comprehensive coverage of current ongoing
exhibitions on view for the current quarter of the year.

Black
Art Project (BAP) welcomes any information or leads that you might have
relating to Black art exhibitions, particularly regional exhibitions
that are not traditionally marketed on a national scale. BAP will verify
the accuracy of any information submitted. Thank you for any assistance
that you provide.

Arm Race to Embrace: James Pate's KKK Series, Kin Killin' Kin will be on view at Clark Atlanta University Galleries from January 19 through March 7, 2014. This visually stimulating exhibition addresses the epidemic of gun

violence in urban communities nationwide.

Statistics substantiate that between 1976 and 2000, 94 percent of black homicide victims in America were killed by other blacks. These statistics provided the impetus for the Kin Killin' Kin series which includes 12 charcoal drawings and one oil painting. Each of the works in the series, represent a "moment of silence and dedication" to people who have been impacted directly by gun violence. Pate portrays African American men in pointed hoods similar to those worn by members of the Ku Klux Klan as a way to juxtapose disparate worlds and underscore the irony.

Kin Killin' Kin is Pate's personal protest to what he calls Black-on-Black terrorism.
In light of the national dialogue addressing the plight of African
American males, this provocative exhibition will seek to engage
communities in relevant discussions, leading to plausible solutions to
violence prevention in urban communities nationwide.

Accompanying Programs:

There will be a Community Forum with artist James Pate on Saturday, January 18, 2014 from 1:00 - 4:00 pm.

An Artist Talk with James Pate will be held on Sunday, January 19, 2014 at 3:00 pm.

Rooted Communities, Nari Ward's first solo exhibition in Louisiana, will be on view at the LSU Museum of Art from February 7 through August 10, 2014. Ward was awarded the LSU College of Art + Design's prestigious Nadine Carter Russell Chair for the 2013-2014 academic year, a rotating residency shared among the four disciplines of the college. Rooted Communitiescoincides with his residency at LSU, and highlights a series of Ward's recent sculptures, works on paper, and mixed-media installations. In April, the LSU Museum of Art will also debut the artist's installation, to be made with university students during his residency.

Rooted Communitiescomprises twenty-six mixed-media sculptures, some of which are free standing, while others hang from the walls or the ceiling. A master at balancing elegance with grittiness, Ward articulates multi-layered issues that affect all communities: economics, poverty, race, culture, and how these factors shape a society. A tire swing (image shown), for example suggests carefree living- until one notes that the tire is suspended from a hangman's noose, a particularly poignant and raw symbol in the Deep South. In Nari Ward's words, "I build drama from the use of found and everyday objects, merging physical information and materials with memories, thoughts, experiences, and questions. ...The exhibition space is the place of contemplation where I attempt to visually seduce the viewer into a dialogue with their own undirected but necessary thoughts and emotions."

Accompanying Programs:

An Artist Talk, featuring Nari Ward, will be on Monday, March 24, 2014, 5:00 pm at the LSU Design Building Auditorium, room 103.

In addition to the Artist Talk, the LSU Museum of Art will present a series of additional programs designed to further explore the exhibition, Rooted Communities.

Charles White - Heroes: Gone but Not Forgotten...will open at the David C. Driskell Center on January 30, 2014 and will remain on views through May 23, 2014. This exhibition presents a collection of 47 works created by Charles White

Charles White, Jubilee, 1974,

Oil on board, Courtesy of Landau Traveling

Exhibitions/Heritage Gallery, Los Angeles, CA

and consists of drawings, prints, and paintings from the 1930s to the 1970s. These works represent a broad slice of White's storied and rich career.

The works in this exhibition, Heroes: Gone but Not Forgotten..., are from the collection of Arthur Primas who made them available as a national traveling museum exhibition. This large of a collection of White’s work has not been available to a
wide museum audience for many decades. "Many of his most revered works
are featured in this collection, including Gospel Singers, Head of
Abraham Lincoln, J’Accuse #5, J’Accuse, Frederick Douglass, and
works from the prestigious Johnson Publishing Company Collection
spanning black history from slavery to Jubilee."

In conjunction with the Heroes: Gone but Not Forgotten... exhibition, the David C.
Driskell Center will feature several works by Charles White from
the Center’s permanent art collection, most notably Sammy Davis Jr. (1959, graphite drawing mounted onto acrylic painted board) and Creole Madonna (1934, color crayon on paper), recently donated to the Center from the Sandra and Lloyd Baccus Collection.

A catalogue accompanies the exhibition, Heroes: Gone but Not Forgotten.... Learn more about this exhibition and the David C. Driskell Center.

Archibald Motley: Jazz Age Modernist, the
first retrospective of the American artist's paintings in two decades,
will be on view at the Nasher Museum of Art at Duke University from
January 30 through May 11, 2014. The exhibition is scheduled to travel to two other museums in 2014: Amon Carter Museum of American Art (Fort Worth, TX) and the Los Angeles Museum of Contemporary Art.Archibald Motley includes 42 works, representing each period of Motley's career from 1919 to 1960. In addition to his Chicago paintings, the exhibition features his noteworthy canvases of Jazz Age Paris and 1950s Mexico. These significant works are presented together for the first time. Many of Motley's most important portraits and cultural scenes remain in private collections; few museumshave had the opportunity to acquire his work.

Archibald Motley: Jazz Age Modernist will be complemented by free programs and events.

The Nasher Museum will hold a daylong scholarly symposium related to the exhibition on Friday, February 28, 2014.

In the Spring 2014 term, curator Richard J. Powell will teach a Duke University course focused on the exhibition.

Point of View: Contemporary African American Art from the Elliot and Kimberly Perry Collectionwill be on view January 26 through April 13, 2014 at the Flint Institute of Arts. The collection explores American identity and culture through the art of some of the most innovative, creative, and compelling artists working in the 21st century.

Working on the cutting edge in a variety of media, the 36 African American

artists and 3 artists of the African Diaspora featured in this exhibition place an emphasis on today's issue, creating a dialogue and expanding the discourse of African American art. These artists not only have a shared interest in issues of their predecessors, such as racism, poverty, segregation, and social injustice, but they also address themes of masculinity, femininity, and diversity.

In Elliot Perry's words, "This collection tackles so many different issues, and
it shows the rich heritage of African American people in so many diverse ways." Elliot and Kimberly Perry hope to foster an educational experience that is
transformative as viewers learn, interpret and grapple with the works of art.

The
Flint Institute of Arts (FIA) partners with the Charles H Wright Museum of African AmericanHistory in bringing the Perry Collection to Michigan. Modern works from the
early part of the Perry Collection will be on view in Detroit at the same time the
contemporary works will be shown at the FIA.A catalogue will accompany Point of View: Contemporary African American Art from the Elliot and Kimberly Perry Collection.For more information regarding exhibition and accompanying programs: See Flint Institute of Arts.

The Drawing Center will present Deborah Grant: Christ You Know It Ain't Easy!! from January 25 through February 28, 2014. This exhibition is an installation that combines painting, drawing, and collage to recount the fictional meeting between African American folk artist Mary A. Bell and renowned modernist painter Henri Matisse. In creating this body of work, Grant spent over two years researching primary documents including Mary Bell's drawings and letters.

Christ You Know It Ain't Easy!! is Deborah Grant's first solo museum show in New York. It is the latest installment in Grant's ongoing series, Random Select, in which she interweaves historical accounts and personal experiences with references to contemporary political and social issues. May A. Bell, the subject of this exhibition, was troubled for many years by mental illness, and was committed to a mental facility in Boston in 1940, where she died the next year from heart failure.

In Grant's story, Bell encounters Matisse in a dream after falling asleep while working late one night on her drawings. The modern master appears at the foot of her bed discoursing on his famous large-scale paper collages, which he calls "painting with scissors". After a brief discussion about abstract art, religion, and her own personal history, Bell wakes up only to realize that she is in the Boston State Hospital. Rendered trough graphic silhouettes, intricate line drawings, and collaged photographic elements, Grant's fictionalized narrative provides an alternate account of the legacy of modernist painting, one not told in the history books.

Accompanying Program: Walk through with the artist and curator on Thursday, February 6, 2014 at 6:30 pm.

The Drawing Center will produce a fully illustrated edition of the exhibition in the Drawing Papers series.